#historical performance

[lutes-of-the-world]

Cittern, Urbino school, probably 16th century, with soundboard from the 18th century, auctioned at Christie's

[bearterritory]

#3 Bears Historic Win at #9 UCLA

Cal Sets Program Record For Highest Team Score Ever

LOS ANGELES - The No. 3 California Women's Gymnastics Team sent a message that reverberated throughout California and beyond this week, putting on a breathtaking performance in a dominant 198.400-197.775 victory over No. 9 UCLA at Pauley Pavilion.

While a raucous crowd cheered on the Bruins' every move, the Golden Bears simply put together the best performance in program history - their team score of 198.400 surpassed their previous best of 198.275 set last season. Meanwhile, sophomore eMjae Frazier also made history with the best individual all-around score ever at Cal with a 39.825.

The Bears left little doubt it would be a memorable afternoon immediately, tying for the program's second best-ever score on the uneven bars with a 49.650. Cal had five gymnasts register at 9.9 or better, including four 9.95s.

The Bears then put up their second-best floor exercise score ever as well with a 49.675, highlighted by Frazier's first career 10 in the event. Cal once again had five gymnasts go 9.9 or higher.

Mya Lauzon recorded a perfect 10 of her own on beam, while Frazier came close again with a 9.975. For the third time in the meet, Cal went No. 2 all-time in the event with a 49.725. Five gymnasts again went at least 9.9.

Sunday's performance also marked the first time in program history the Bears have had two gymnasts record a 10 during the same meet.

Lauzon's all-around score of 39.700 was close to her career-best of 39.775, which she and Frazier both hit earlier this season that was the previous program record.

Ella Cesario set a career-best with an all-around score of 39.475 and Maddie Williams' 39.600 was a season-high.

[if-it-isnt-cello]

is it me or are the contrapunctuses (almost) the same

[notonal]

Everytime I see the Guidonian Hand I think of this so I made it real

[oberlinconservatory]

In the practice room with Phoebe Durand McDonnell ’19

This Oberlin Conservatory harpist is accustomed to travel. When Phoebe’s harp goals outgrew her small hometown of Bar Harbor, Maine, she began making a six-hour commute to Boston for weekly lessons. Now at the end of her undergraduate studies, with a new-found passion for historic harp that she discovered in Oberlin, Phoebe is ready to take her studies even farther from home as a Fulbright Fellow in Geneva, Switzerland, in the fall.

How do you plan to spend your Fulbright year overseas?  I will be participating in a Masters degree program at the Haute école de musique de Genève studying historic harp performance. My focus is Baroque harp, which was used generally from the 1500s-1700s. It’s a crazy instrument! The modern harp that I play now has pedals to change keys, but the Baroque harp has three parallel rows of strings—the outer two rows are tuned diatonically and the inner row is tuned to the half-steps and slightly offset, so for sharps and flats you reach into the inner row.  I’ll be learning how to play the instrument and studying Baroque music.

What motivated you to apply for a Fulbright in the first place? What inspired this particular project?    During my second year at Oberlin I found a replica of a Baroque harp in a locked practice room on the third floor of Robertson Hall. Nobody actually knows where it came from or why it’s at Oberlin, but I was completely fascinated and started playing around with it.  During my junior year, I took an Intro to Historic Performance class with Professor David Breitman, and he and my harp teacher Yolanda Kondonassis worked together to bring historic harpist Dr. Maria Cleary to Oberlin when she was playing in Cleveland. I had a couple of lessons with her and discovered it was possible to play historic harp professionally—I was completely hooked! I started looking into a Fulbright because historic harp isn’t taught in the U.S. I had the chance to study with Maria again at a festival in the Czech Republic last summer and quickly realized I love her teaching style and musicality. Soon after, I wrote my Fulbright application to study in with her in Geneva.

It seems the sky is the limit when it comes to collaborative performance opportunities here in Oberlin! What have been some of your most memorable collaborative experiences on campus? I’ve worked one-on-one with composers, played a contemporary harp duet, and hauled my harp across campus to play at a contra dance.  (The sky is the limit, for sure, but maybe a more realistic limit when there is no elevator available is the third floor of J House for a “waltz night”!) In the past month alone, I have played in the film score project of a composer friend, performed with the orchestra in a section of four harps, and presented a piece with a friend on my senior recital that we’ve been planning to play together since we were 16.  Every collaboration is equally unforgettable and close-to-my-heart!

Let's talk about your work with Oberlin’s Indonesian Gong Ensemble! Before the Salvation Army Learning Zone project, had you had many teaching/community outreach experiences like that? Bang on a Gong is fabulous! I’ve always loved working with kids and feel very strongly that access to music is incredibly important. I drove six hours one way for lessons throughout high school, and was able to do that since I was homeschooled and my parents were incredibly supportive.  But I’m from rural Maine, and I know first hand that not everybody can make that work. Since I first started performing, I’ve given a “this is how the harp works!” spiel before my concerts and always let people of every age try the harp if they want to.  I became involved in “Gamelan and Community Engagement” at its inception two years ago, and have worked with Professor Jennifer Fraser through every change, experiment, and success! Go to their concerts. Get involved. It’s a fantastic program.  

“We should all do what we love and do it well.”

As a fourth year, ready to graduate, what are some of the ways that Oberlin has helped you to grow?

I think every student here says this, but Oberlin is such a unique place. In a conservatory environment it’s easy to feel pressured to do your best, always, no matter what the physical/mental consequences. But, at Oberlin, we’re forced to get out of the practice rooms and interact with our peers who are not doing music. I’m an odd conservatory student in that I came to Oberlin because I also loved the school as a whole, not just the conservatory. I think my time with the college students (I’m co-chair of the contra dance, I’ve taken more college classes than my degree requires, and I love ExCos) has inspired me in my music.  When I see friends doing what they love and excelling in fields I never could, it makes me realize that every career path is important. We should all do what we love and do it well.

[classicalconditioningblog]

Suggested Listening: “Las estrellas se ríen” by Juan Gutiérrez de Padilla

De Padilla's enormous output of compositions for services at the Puebla Cathedral would be preserved for centuries to come — as would the traumatic legacy of the colonial system which he served.

Care for a little colonialism with your Christmas carols?

[stevetomjohn]

Are you a “Dungeons and Dragons” early music performer, or are you a “GQ centerfold” early music performer

[lutes-of-the-world]